As a specimen of the Albanian or Arnaout dialect of the Illyric, I here insert two of their most popular choral songs, which are generally chanted in dancing by men or women indiscriminately. The first words are merely a kind of chorus without meaning, like some in our own and all other languages.

1. Bo, Bo, Bo, Bo, Bo, Bo,
Naciarura, popuso.
2. Naciarura na civin
Ha pen derini ti hin.
3. Ha pe uderi escrotini
Ti vin ti mar servetini.
4. Caliriote me surme
Ea ha pe pse dua tive.

5. Buo, Bo, Bo, Bo, Bo,
Gi egem spirta esimiro.
6. Caliriote vu le funde
Ede vete tunde tunde.
7. Caliriote me surme
Ti mi put e poi mi le.
8. Se ti puta citi mora
Si mi ri ni veti udo gia.

9. Va le ni il che cadale
Celo more, more celo.
10. Plu hari ti tirete
Plu huron cia pra seti.
 1. Lo, Lo, I come, I come;
be thou silent.
2. I come, I run; open the
door that I may enter.
3. Open the door by halves,
that I may take my turban.
4. Caliriotes[A] with the dark
eyes, open the gate that
I may enter.
5. Lo, Lo, I hear thee, my soul.

6. An Arnaout girl, in costly
garb, walks with graceful pride.
7. Caliriot maid of the dark
eyes, give me a kiss.
8. If I have kissed thee,
what hast thou gained?
My soul is consumed with fire.
9. Dance lightly, more
gently, and gently still.
10. Make not so much dust
to destroy your embroidered hose.

[A] The Albanese, particularly the women, are frequently termed "Caliriotes," for what reason I inquired in vain.

The last stanza would puzzle a commentator: the men have certainly buskins of the most beautiful texture, but the ladies (to whom the above is supposed to be addressed) have nothing under their little yellow boots and slippers but a well-turned and sometimes very white ankle. The Arnaout girls are much handsomer than the Greeks, and their dress is far more picturesque. They preserve their shape much longer also, from being always in the open air. It is to be observed, that the Arnaout is not a written language: the words of this song, therefore, as well as the one which follows, are spelt according to their pronunciation. They are copied by one who speaks and understands the dialect perfectly, and who is a native of Athens.

1. Ndi sefda tinde ulavossa
Vettimi upri vi lofsa.

2. Ah vaisisso mi privi lofse
Si mi rini mi la vosse.

3. Uti tasa roba stua
Sitti eve tulati dua.

4. Roba stinori ssidua
Qu mi sini vetti dua.
5. Qurmini dua civileni
Roba ti siarmi tildi eni.
6. Utara pisa vaisisso me
simi rin ti hapti
Eti mi bire a piste si gui
dendroi tiltati.
7. Udi vura udorini udiri
cicova cilti mora
Udorini talti hollna u ede
caimoni mora.
 1. I am wounded by thy
love, and have loved
but to scorch myself.
2. Thou hast consumed me!
Ah, maid! thou hast
struck me to the heart.
3. I have said I wish no
dowry, but thine eyes
and eyelashes.
4. The accursed dowry I
want not, but thee only.
5. Give me thy charms, and
let the portion feed the flames.
6. I have loved thee, maid,
with a sincere soul, but
thou hast left me like
a withered tree.
7. If I have placed my hand
on thy bosom, what
have I gained? my
hand is withdrawn, but
retains the flame.

I believe the two last stanzas, as they are in a different measure, ought to belong to another ballad. An idea something similar to the thought in the last lines was expressed by Socrates, whose arm having come in contact with one of his "ὑpokolpioi," Critobulus or Cleobulus, the philosopher complained of a shooting pain as far as his shoulder for some days after, and therefore very properly resolved to teach his disciples in future without touching them.

31.

Tambourgi! Tambourgi! thy 'larum afar.

[Song, stanza 1,] line 1.